当代绘画的跨文化互动
摘要
20世纪德国艺术家格哈德·里希特与中国艺术家张晓刚都有参考了照片的绘画创作,并且采用了大体相似的写实风格与平涂技法。目前在国内艺术批评和研究的领域内,流行的观点认为,以张晓刚为代表的众多中国艺术家对里希特存在模仿。本文首先分别考察了两位艺术家重要作品图像的来源,分析了他们选择具体创作主题的原因,并藉此对两人的艺术特征作出小结。里希特在绘画创作中对摄影的借用,看似是对摄影再现方式的模仿,实则是对西方绘画在历史发展中形成的独特精神的坚持。这一精神的内涵极其丰富,而里希特重视的是其中三个基本问题：理性的价值判断,人文的经典主题,和绘画再现现实的可靠性。张晓刚对照片的参考——从借用家庭合影式的构图及其暗含的人际关系结构,发展到对摄影图像静态化的引用——贯穿了他几乎所有的平面作品。对社会政治现实的记忆,是他反复处理的主题——早期他侧重于探索极权统治对个体生存的决定性影响,主要通过光斑这个图像与等级关系的暗示来传达这种记忆中的痛苦；最近十年以来,他转向反思记忆的可靠性,敏锐地指出回忆被当代生活的消费行为任意篡改,它与历史现实之间不可弥合的差距正体现在这样的脆弱性中。在这个前提下,本文运用跨文化艺术研究的视角和方法,突破传统比较研究的文化同一性假设,从文化生成过程中的交流与互动出发,重新检审了两位艺术家作品的相通之处与源自社会和个人特点的差异。最终得出他们真正的相似在于明确反对极权政治的态度、而不仅仅是形态风格的结论。
20century German artist, Gerhard Richter, and the Chinese artists Zhang Xiaogang both have paintings referencing photography, and adopt broadly similar realistic style and flat coating techniques. At present in China, the prevailing view within art criticism and research field believes that as a representative of many Chinese artists, Zhang Xiaogang imitates Richter. This paper first separately inspectes important works of the the two artists from their source of images, and analyzes the reasons why they choose specific subjects in art creation, and thereby give summaries respectively to the features of the twp artists. The borrow of photography in Richter's paintings looks like imitation to the way of representation of photography, but actually it is insistence to the unique spirit formed in the development of western painting history. This spirit has extremely rich connotation, and Richter focuses on three fundamental issues: rational value judgment, the classic themes of thumanities, and the reliability of representation of reality in the painting. Zhang Xiaogang's reference to photo, from the application form the composition of family photographs and its implied structure of the interpersonal relationship to the staticition of image in photography, shows throughout all his graphic works. The memory of social and political reality is his repeated theme. Early days, he focused on the exploration of the decisive influence of individual survival under the ruling of totalitarian, conveying the pain in memory mainly through the image of light patch and the implication of hierarchy. In the recent decade, he has turned to reflect on the reliability of memory, keenly pointing out that memories are tampered arbitrarily of the consumption behavior in contemporary life, and its vulnerability can be seen from the unlinked gap between historical reality and itself. In this premise, the angle of view and methods of cross-cultural art research are applied in this paper to break the cultural identity hypothesis of traditional comparison study, and to form new inspection of the similarities and differences from social and individual characteristics of the two artists, from the exchange and interaction of cultural formation process. Eventually it comes to the conclusion that their true similarity is the explicit attitude against totalitarian politics, not merely in form and style.
20century German artist, Gerhard Richter, and the Chinese artists Zhang Xiaogang both have paintings referencing photography, and adopt broadly similar realistic style and flat coating techniques. At present in China, the prevailing view within art criticism and research field believes that as a representative of many Chinese artists, Zhang Xiaogang imitates Richter. This paper first separately inspectes important works of the the two artists from their source of images, and analyzes the reasons why they choose specific subjects in art creation, and thereby give summaries respectively to the features of the twp artists. The borrow of photography in Richter's paintings looks like imitation to the way of representation of photography, but actually it is insistence to the unique spirit formed in the development of western painting history. This spirit has extremely rich connotation, and Richter focuses on three fundamental issues: rational value judgment, the classic themes of thumanities, and the reliability of representation of reality in the painting. Zhang Xiaogang's reference to photo, from the application form the composition of family photographs and its implied structure of the interpersonal relationship to the staticition of image in photography, shows throughout all his graphic works. The memory of social and political reality is his repeated theme. Early days, he focused on the exploration of the decisive influence of individual survival under the ruling of totalitarian, conveying the pain in memory mainly through the image of light patch and the implication of hierarchy. In the recent decade, he has turned to reflect on the reliability of memory, keenly pointing out that memories are tampered arbitrarily of the consumption behavior in contemporary life, and its vulnerability can be seen from the unlinked gap between historical reality and itself. In this premise, the angle of view and methods of cross-cultural art research are applied in this paper to break the cultural identity hypothesis of traditional comparison study, and to form new inspection of the similarities and differences from social and individual characteristics of the two artists, from the exchange and interaction of cultural formation process. Eventually it comes to the conclusion that their true similarity is the explicit attitude against totalitarian politics, not merely in form and style.
引文
1 1972年里希特参加威尼斯双年展,同年的访谈中开始出现photo-painting这个词(如Interview with Peter Sager,1972", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P64),取代了之前采访者和批评家使用的更为随意的“works based on photographs”或“photo picture”等。
2 李铸晋、万青力,《中国现代绘画史——当代之部》上海,文汇出版社,2004.7,第70页。
3 鲁虹,《图像的时代与视觉转向》,《湖北美术学院学报》2006,2。
4 借自 Hans Belting, "Likeness and Presence: A History of Images before the Era of Art"一书的书名。
5 James H Rubin, Courbet, Phaidon Press Limited,1997, P.157-158
6 林木,《对本世纪中国美术几个问题的检讨》,载《美术观察》,1999年第10期,第59页。
7 [美]鲁道夫·阿恩海姆著,滕守饶、朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984年7月,《引言》第2页。
8 [美]苏珊·桑塔格著,黄灿然译,《论摄影：插图珍藏本》,上海译文出版社,2010.12,第7页。
9 摩涅莫辛涅是古希腊神话中记忆女神的名字。
10 Aby Warburg. Der Bilderatlas MNEMOSYNE (Martin Warnke edited, Berlin 2003,2nd printing)一书对该图集的简单评述如下：瓦尔堡将这个系列命名为《摩涅莫辛涅,检验欧洲文艺复兴艺术中关于重大生命叙述的古物表现价值之预设功能的图画序列》。从根本上说,该图集是将哲学与图像-历史的方法结合起来的一次尝试。在黑布包覆的木板上,粘贴的是图像和书籍复制品的照片,以及来自报纸和/或日常生活的视觉材料。瓦尔堡按主题领域分类的方式排列这些图片,每板阐明一个或几个主题。只有被整体拍摄下来的图集木板得以幸存。自1924年以来,瓦尔堡在板上共收集了约2000张复制品。此外，特定的主题还被重设了独立展示或演讲。今天,瓦尔堡的工作风格会被归类为“视觉群体”的研究。只有这些图片不是根据视觉相似度、明显的图像志意义上的历史风格,而是通过“彼此亲和度”的关系和“良好伴侣”的原则来归类的,这使它们得以在语境研究(例如合同状况或生物关联)中获得重构。
11 Benjamin H. D. Buchloh, "Gerhard Richter's 'Atlas':The Anomic Archive", October, Vol.88, (Spring,1999), P.118-119.
12 "Joseph Nicephore Niepce (1765-1833), Louis Jacques Mande Daguerre (1787-1851), and Dominique Francois Arago (1786-1853)", In Classic Essays on Photography, Edited by Alan Trachtenberg, Notes by Amy Weinstein Meyers, Leete's Island Books, Inc., 1980, P.113 即下文提到的“达盖尔摄影法”,指由法国人达盖尔在1839年发明的照相显影技术。原理是利用镀有碘化银的钢板在暗箱里进行曝光,然后以水银蒸汽进行显影,再以普通食盐定影,得到的实际上是一个金属负像,但十分清晰而且可以永久保存。这种方法的曝光时间大约需要20到30分钟。
14 Louis Jacques Mande Daguerre, "Daguerreotype", In Classic Essays on Photography, Edited by Alan Trachtenberg, Notes by Amy Weinstein Meyers, Leete's Island Books, Inc.,1980, P.12
15 "Notes,1964-1965", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.32
16 E. H. Gombrich, Art and Illusion, sixth edition, Phaidon Press Inc, London, 2002. P.12
17 "Notes, 1964-1965", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.32
18 "Interview with Rolf Schon,1972", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.59
19 奥斯卡·古斯塔夫·雷兰德(Osear Gustave Reilande/Oscar Gustave Rejlander)曾用16个专业模特、30张底片、在两张相纸上叠印完成巨作《两种人生》(图3),这张照片的重要意义在于：通过对历史画创作过程的全面模仿,表明摄影是一种艺术的创作手段。他也被誉为“艺术摄影之父”20 法国摄影家罗贝·蒂芒希(Robert Demachy)以拍摄绝似德加画面效果的芭蕾舞演员(图4)著称。
21 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modem Art, New York, 2003, P.100
22 Benjamin H. D. Buchloh, "Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning," October 75 (winter 1996), P.73
23 Robert Storr, Gerhard Richter:DouIts and Belief in Painting, The Museum of Modern Art, New York,2003, P.103
24 [德]瓦尔特·本雅明著,胡不适译,《技术复制时代的艺术作品》,浙江文艺出版社,2005年,第4l页。
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26 John Cage, "Lecture on Nothing," Exhibition of the Anarchy of Silence: John Cage and Experimental Art. Barcelona: Museu d'Art Contemporani de Barcelona, 2009.
" Gertrud Koch, "The Richter-Scale of Blur", Edited by Benjamin H. D. Buchloh, October Files: Gerhard Richter. Cambridge: Massachusetts Institute of Technology, 2009, P.40.
28 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003. P.89.
29 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003, P.104
30 "Interview with Jonas Storsve,1991", Gerhard Richter Text:Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London,2009, P.272
31 Helmut Friedel:"Gerhard Richter's Palette Paintings", Gerhard Richter: Red, Yellow or Blue, Prestel Verlag, New York. 2007. P.18
32 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003.P.174
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34“红色旅”最初由苏联于1970年5月14日设立,全称是Rote Armee Fraktion(或者写成英文即Red Army Faction).其东德分支的主要成员是巴德与梅恩霍夫,后者曾是知名杂志《Koncret》的记者。在柏林自由大学26岁的学生奥纳索格被便衣警察枪杀后,红色旅宣布：“对暴力唯一的回答就是使用暴力”。此后他们便发动了一系列恐怖活动。
35 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York,2003. P.52, Note 65:Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill & Wang, 1981):15
36 王志亮,《格哈德·里希特给我们带来了什么?》,载《美术观察》,2008年第1期。
37 "Notes for a press conference, November-December 1988', Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London,2009. P.202
38 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18,1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.290, Note 4
39 Alan Krell, Manet, Thames and Hunson Ltd, London,1996, P.106
40 James H Rubin, Courbet, Phaidon Press Limited,1997, P.75
41 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18,1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.283
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43 Thomas Crow, "Hand-Made Photographs and Homeless Representation"', Edited by Benjamin H. D. Buchloh, October Files: Gerhard Richter, Cambridge: Massachusetts Institute of Technology, 2009, P.54-55
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45 Gertrud Koch, "The Richter-Scale of Blur", Edited by Benjamin H. D. Buchloh, October Files:Gerhard Richter, Cambridge:Massachusetts Institute of Technology,2009, P.40
46 Rachel Haidu, "Arrogant Texts:Gerhard Richter's Family Pictures", Edited by Benjamin H. D. Buchloh, October Files:Gerhard Richter, Cambridge: Massachusetts Institute of Technology, 2009, P.166
47 "Interview with Sabine Schutz, 1990", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.258
48 Edited by Fred Jahn, Gerhard Richer: Atlas, Exhibition Catalog, Munich: Stadtische Galerie im Lenbachhaus 1989. P.202
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76 阿尼·格林顿,《前言》,《修正》展览图录,2008年,第1页。
77 Michel Foucault, The Achaeology of Knowledge and the Discourse of Language, New York: Pantheon,1972, Taken from the note of Robert S. Nelson, "Appropriation", Robert S. Nelson and Richard Shiff (ed.), Critical Terms for Art History, The University of Chicago Press, 2003, P.162
78 邵亦杨,《跨文化——世界艺术史研究的新坐标》,载《美术观察》,2008年第4期,第122页。
79 See Catharina Manchanda (compiled), "Chronology", in Gerhard Richter: Forty Years of Painting, organized by Robert Storr, produced by the Department of Publications, The Museum of Modern Art, New York, 2002.
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82 Shao Yiyang, "Why Realism?" in Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence:The Proceedings of the 32nd International Congress of the History of Art (Comite International
d'Histoire del'Art, CIHA) The University of Melbourne, 2008.
83 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18, 1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.283
84 冷林《为张晓刚纽约展而写》,《修正》展览图录,第13页。
85 冷林《前言》,《史记》展览图录,第3页。
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87 Brendan Prendeville, Realism in 20th Century Painting, Thames & Hudson Ltd, London, 2000, P.164
88 David Hopkins, After Modern Art: 1945-2000, Oxford University Press, Oxford, 2000, P.217
89 [美]汉娜·阿伦特著,林骧华译,《极权主义的起源》,北京,生活读书新知三联书店,2008.6,第592页。
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91 表象论起源于德谟克利特(Democritus)的理论：物体放射出一个自身的摹本,这个摹本在尺度上缩小了,它通过瞳孔进入眼睛,眼睛再照此重建起一个所见之物的模式,以便让大脑作出判断和解释。可见表象论与“视觉”这一感觉方式存在更多的关联,这与后来西方艺术走上追求“再现”的道路密切相关。
92 David Summers, "Representation", in Robert S. Nelson and Richard Shiff, Critical Terms for Art History, Chicago: University of Chicago Press, 1992, 2003. P.3
93 Phantasia这个词源自词根phos,意思是“光”,这与古希腊哲学中用来解释认知过程的其它词汇如idea(源自idein.看)一样,都具有明确的视觉性。
94 Immanuel Kant, "The Critique of Judgment", in edited by Donald Preziosi, The Art of Art History: A Critical Anthology, Oxford University Press, P.79
95 易英,《从自我到图式——莫鸿勋抽象绘画释读》,收录于《偏锋》,湖南美术出版社,2005年11月,第61页。
96 [美]戴维·萨默斯,《再现》,载《新美术》,2006年第6期,总第27卷,第24页。
97 Roger Scruton, "Photography and Representation", Arguing about Art, edited by Alex Neill and Aaron Ridley, second edition, Routledge, London, 2002. P.198
98 《1990年11月7日,张晓刚致毛旭辉的信》,见张晓刚,《失忆与记忆——张晓刚书信集(1981-1996)》,北京大学出版社,2010年2月,第167页。
99 斯然畅畅,《图文之间：二手资料与想象中国》,载《美术观察》,2009年07期,第125页。
10 [法]让-弗朗索瓦·利奥塔尔著,车槿山译,《后现代状态》,南京大学出版社,2011年9月,第6-7页。
101 Hans Belting, Art History after Modernism, translated by Caroline Saltzwedel and Mitch Cohen with additional translation by Kenneth Northcott, The University of Chicago Press, Chicago, 2003, P.197
Eleanor Heartney, Art & Today, Phaidon Press Inc, 2008
Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence:The Proceedings of the 32nd International Congress of the History of Art (Comite International d'Histoire de l'Art CIHA) The University of Melbourne, 2008
Edited by Amelia Jones, The Companion to Art History Since 1945, Blackwell Press, 2006
Edited by Zoya Kocur and Simon Leung, Theory in Contemporary Art since 1985, Blackwell Publishing Ltd,2005 Hans Belting, translated by Caroline Saltzwedel, Mitch Cohen and Kenneth Northcott, Art History after Modernism, The University of Chicago Press, 2003
Edited by Charles Harrison and Paul Wood, Art in Theory 1900-2000: An Anthology of Changing Ideas, Blackwell Publishing Ltd, 2003
Edited by Robert S. Nelson and Richard Shiff, Critical Terms for Art History (Second Edition), The University of Chicago Press, 2003
E. H. Gombrich, Art and Illusion, sixth edition, Phaidon Press Inc, 2002
Edited by Alex Neill and Aaron Ridley, Arguing about Art, second edition, Routledge, 2002
Edited by Rasheed Araeen, Sean Cubitt and Ziauddin Sardar, The Third Text Reader: On Art, Culture and Thoery, Continuum, 2002
Edited by Alex Neill and Aaron Ridley, Arguing about Art, second edition, Routledge, London, 2002 Brendan Prendeville, Realism in 20th Century Painting, Thames & Hudson Ltd, 2000
Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History, Princeton University,1997David Hopkins, After Modern Art:1945-2000, Oxford University Press, 2000
Edited by Donald Preziosi, The Art of Art History: A Critical Anthology, Oxford University Press, 1998
Hans Belting, Likeness and Presence: Images before the Era of Art, University Of Chicago Press, January 15,1997
Preben Mortensen, Art in the Social Order: the Making of the Modern Conception of Art, State University of New York Press, 1997
James H Rubin, Courbet, Phaidon Press Limited, 1997
Aby Warburg. Der Bilderatlas MNEMOSYNE (Martin Warnke edited, Berlin 2003, 2nd printing Alan Krell, Manet, Thames and Hunson Ltd, London, 1996
Homi K. Bhabha, The Location of Culture, Routledge, 1994
John O'Brian (ed.), Clement Greenberg: the Collected Essays and Criticism, The University of Chicago Press, paperback edition 1988
Edited by W. Eugene Kleinbauer, Modern Perspectives in Western Art History: An Anthology of 20th-century Writings on the Visual Arts, Holt, Rinehart and Winston, Ltd, 1971
易英,《原创的危机》,河北美术出版社,2010年7月
[美]詹姆斯·埃尔金斯著,雷鑫译《视觉研究——怀疑式导读》,江苏美术出版社,2010.1
[英]E.H.贡布里希著,林夕、李本正、范景中译《艺术与错觉——图画再现的心理学研究》,湖南科学技术出版社,2009.2
[美]安·达勒瓦著,李震译,王春辰校《艺术史方法与理论》,江苏美术出版社,2009.1
[法]达尼埃尔·阿拉斯(Daniel Arasse)著,孙凯译,董强审校《绘画史事》,北京大学出版社,2007.7
[美]尼古拉斯·米尔佐夫著,倪伟译,《视觉文化导论》,江苏人民出版社,2006年11月
[美]乔纳森·费恩伯格著,王春辰、丁亚雷译,易英审校《一九四零年以来的艺术：艺术生存的策略》,中国人民大学出版社,2006
[英]爱德华·露西一史密斯著,殷企平等译《艺术词典》,三联书店,2005年5月
李铸晋、万青力,《中国现代绘画史——当代之部》上海,文汇出版社,2004.7
李军,《“家”的寓言——当代文艺的身份与性别》,作家出版社,1996年7月
[美]鲁道夫·阿恩海姆著,滕守饶、朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984年7月康有为,《万木草堂藏画目·序言》,孔子二千四百六十九年(即公元1918年)戊午二月出版,上海长兴书局
Graham Clarke, The Photograph, Oxford University Press, 2000
Ian Jeffrey, Photography：A Concise History, Thames & Hudson Ltd, 1981
Edited by Alan Trachtenberg, Classic Essays on Photography, Leete's Island Books Inc,1980
Susan Sontag, On Photography, Picador Press New York, 1977
[美]苏珊·桑塔格著,黄灿然译,《论摄影：插图珍藏本》,上海译文出版社,2010.12
[德]瓦尔特·本雅明著,胡不适译,《技术复制时代的艺术作品》,浙江文艺出版社,2005年
Edited by Benjamin H. D. Buchloh, Gerhard Richter (October Files), Massachusetts Institute of Technology,2009 Edited by Dietmar Elger and Hans Ulrich Obrist, Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, Thame & Hudson Ltd, London,2009
Gerhard Richter: Red, Yellow or Blue, Prestel Verlag, New York,2007
Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003
Organized by Benjamin H. D. Buchloh, Gerhard Richter: Eight Gray, Guggenheim Museum Publications,2003
organized by Robert Storr, Gerhard Richter: Forty Years of Painting, produced by the Department of Publications, The Museum of Modern Art, New York, 2002
Edited by Fred Jahn, Gerhard Richter: Atlas, Exhibition Catalog, Munich: Stadtische Galerie im Lenbachhaus, 1989
朱其主编《形象的模糊——里希特艺术笔记和访谈》,湖南美术出版社,2007.10
Karen Smith, Nine Lives: The Birth of Avant-Garde Art in New China, Thames & Hudson,2008 Edited by John Clark, Chinese Art at the End of the Millennium: Chinese-art. Com 1998-1999, New Art Media Ltd, 2000
张晓刚著《失忆与记忆——张晓刚书信集1981-1996》,北京大学出版社,2010.2
阿尼·格林顿,《前言》,《修正》展览图录,2008年
吕澎主编《张晓刚——内心独白式的艺术家》,四川美术出版社,2007.12
高名潞著《墙——中国当代艺术的历史与边界》,中国人民大学出版社,2006.8
巫鸿著《作品与现场——巫鸿论中国当代艺术》,岭南美术出版社,2005.12
[法]让-弗朗索瓦·利奥塔尔著,车槿山译,《后现代状态》,南京大学出版社,2011年9月
[美]汉娜·阿伦特著,林骧华译,《极权主义的起源》,北京,生活读书新知三联书店,2008.6
[美]爱德华·W·萨义德著,朱生坚译,《人文主义与民主批评》,新星出版社,2006年7月
Shao Yiyang, "Chinese Art and Education in 1980-1990s", (translated into German), in Peter J. Schneemann und Wolfgang Briickle (Hg.) Kunstausbildung, Aneignung und Vermittlung kunstlerischer Kompetenz, Vereinigung der Kunsthistorikerinnen und Kunsthistoriker in der Schweiz, Bern, Munchen 2009
Shao Yiyang, "Why Realism?" in Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress of the History of Art (Comite International d'Histoire de I'Art, CIHA) The University of Melbourne, 2008
Hilde Van Gelder, "The Present-day Scholar: an (im)possible representation?" Image and Narative, Issue 10, March 2005
Arthur C. Danto, "History in a Blur", The Nation, May 13,2002
Benjamin H. D. Buchloh, "Gerhard Richter's'Atlas':The Anomic Archive", October, Vol.88, (Spring, 1999) Benjamin H. D. Buchloh, "Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning," October 75 (winter 1996)
邵亦杨,《具象绘画如何进入前卫经典?》,载《荣宝斋》,2011年10月刊
李军,《设计与空间三题》,载《艺术设计研究》,2011年第1期
黄专,《张晓刚：一个现代叙事者的多重世界》,载《读书》2009年11月刊
斯然畅畅,《图文之间：二手资料与想象中国》,载《美术观察》,2009年07期
邵亦杨《从绘画到影像——数码时代的三个片段》,载《文艺研究》2009.6
邵亦杨《视觉文化研究与艺术史》,载《美术研究》2009.4
易英《原创的危机——对近三十年油画创作的反思》,载《文艺研究》2009.1
邵亦杨《跨文化——世界艺术史研究的新坐标》,载《美术观察》2008.4
王志亮《格哈德·里希特给我们带来了什么?》,载《美术观察》2008.０1
余丁《中国艺术,中国标准》,载《美术观察》2007.9
易英《政治波普的历史变迁》,载《南京艺术学院学报》2007年.3
曹意强,《写实主义的概念与历史》,载《文艺研究》,2006年第7期
[美]戴维·萨默斯《再现》,载《新美术》2006年第6期,总第27卷
鲁虹,《图像时代的视觉转向》,载《湖北美术学院学报》2006.2
叶剑青《“气息”消失之后的艺术——李希特“影像绘画”研究》2003级博士论文,中央美术学院
易英《全球化背景下的中国前卫艺术》,载《美术研究》2001.3
林木,《对本世纪中国美术几个问题的检讨》,载《美术观察》,1999年第10期
顾丞峰《观念性的介入,当代绘画的新课题——从张晓刚、石冲作品谈起》,载《美术界》1997.4
张晓刚,欧阳江河《回忆的目光和存在的意味》.载《东方艺术·大家》2006.6
杰罗姆·桑斯《我一直想画出我理解的某一类人的形象——张晓刚访谈》
http://www. gerhard-richter.com/
http://www.artcyclopedia.com/artists/richter gerhard.html
http://members.chello.nl/i.seegersl/gerhardrichter/
http://zhangxiaogang.artron.net/main.php
2 李铸晋、万青力,《中国现代绘画史——当代之部》上海,文汇出版社,2004.7,第70页。
3 鲁虹,《图像的时代与视觉转向》,《湖北美术学院学报》2006,2。
4 借自 Hans Belting, "Likeness and Presence: A History of Images before the Era of Art"一书的书名。
5 James H Rubin, Courbet, Phaidon Press Limited,1997, P.157-158
6 林木,《对本世纪中国美术几个问题的检讨》,载《美术观察》,1999年第10期,第59页。
7 [美]鲁道夫·阿恩海姆著,滕守饶、朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984年7月,《引言》第2页。
8 [美]苏珊·桑塔格著,黄灿然译,《论摄影：插图珍藏本》,上海译文出版社,2010.12,第7页。
9 摩涅莫辛涅是古希腊神话中记忆女神的名字。
10 Aby Warburg. Der Bilderatlas MNEMOSYNE (Martin Warnke edited, Berlin 2003,2nd printing)一书对该图集的简单评述如下：瓦尔堡将这个系列命名为《摩涅莫辛涅,检验欧洲文艺复兴艺术中关于重大生命叙述的古物表现价值之预设功能的图画序列》。从根本上说,该图集是将哲学与图像-历史的方法结合起来的一次尝试。在黑布包覆的木板上,粘贴的是图像和书籍复制品的照片,以及来自报纸和/或日常生活的视觉材料。瓦尔堡按主题领域分类的方式排列这些图片,每板阐明一个或几个主题。只有被整体拍摄下来的图集木板得以幸存。自1924年以来,瓦尔堡在板上共收集了约2000张复制品。此外，特定的主题还被重设了独立展示或演讲。今天,瓦尔堡的工作风格会被归类为“视觉群体”的研究。只有这些图片不是根据视觉相似度、明显的图像志意义上的历史风格,而是通过“彼此亲和度”的关系和“良好伴侣”的原则来归类的,这使它们得以在语境研究(例如合同状况或生物关联)中获得重构。
11 Benjamin H. D. Buchloh, "Gerhard Richter's 'Atlas':The Anomic Archive", October, Vol.88, (Spring,1999), P.118-119.
12 "Joseph Nicephore Niepce (1765-1833), Louis Jacques Mande Daguerre (1787-1851), and Dominique Francois Arago (1786-1853)", In Classic Essays on Photography, Edited by Alan Trachtenberg, Notes by Amy Weinstein Meyers, Leete's Island Books, Inc., 1980, P.113 即下文提到的“达盖尔摄影法”,指由法国人达盖尔在1839年发明的照相显影技术。原理是利用镀有碘化银的钢板在暗箱里进行曝光,然后以水银蒸汽进行显影,再以普通食盐定影,得到的实际上是一个金属负像,但十分清晰而且可以永久保存。这种方法的曝光时间大约需要20到30分钟。
14 Louis Jacques Mande Daguerre, "Daguerreotype", In Classic Essays on Photography, Edited by Alan Trachtenberg, Notes by Amy Weinstein Meyers, Leete's Island Books, Inc.,1980, P.12
15 "Notes,1964-1965", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.32
16 E. H. Gombrich, Art and Illusion, sixth edition, Phaidon Press Inc, London, 2002. P.12
17 "Notes, 1964-1965", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.32
18 "Interview with Rolf Schon,1972", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.59
19 奥斯卡·古斯塔夫·雷兰德(Osear Gustave Reilande/Oscar Gustave Rejlander)曾用16个专业模特、30张底片、在两张相纸上叠印完成巨作《两种人生》(图3),这张照片的重要意义在于：通过对历史画创作过程的全面模仿,表明摄影是一种艺术的创作手段。他也被誉为“艺术摄影之父”20 法国摄影家罗贝·蒂芒希(Robert Demachy)以拍摄绝似德加画面效果的芭蕾舞演员(图4)著称。
21 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modem Art, New York, 2003, P.100
22 Benjamin H. D. Buchloh, "Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning," October 75 (winter 1996), P.73
23 Robert Storr, Gerhard Richter:DouIts and Belief in Painting, The Museum of Modern Art, New York,2003, P.103
24 [德]瓦尔特·本雅明著,胡不适译,《技术复制时代的艺术作品》,浙江文艺出版社,2005年,第4l页。
25 Hilde Van Gelder, "The Present-day Scholar: an (im)possible representation?", Image and Narative, Issue 10, March 2005.
26 John Cage, "Lecture on Nothing," Exhibition of the Anarchy of Silence: John Cage and Experimental Art. Barcelona: Museu d'Art Contemporani de Barcelona, 2009.
" Gertrud Koch, "The Richter-Scale of Blur", Edited by Benjamin H. D. Buchloh, October Files: Gerhard Richter. Cambridge: Massachusetts Institute of Technology, 2009, P.40.
28 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003. P.89.
29 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003, P.104
30 "Interview with Jonas Storsve,1991", Gerhard Richter Text:Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London,2009, P.272
31 Helmut Friedel:"Gerhard Richter's Palette Paintings", Gerhard Richter: Red, Yellow or Blue, Prestel Verlag, New York. 2007. P.18
32 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003.P.174
33 [英]爱德华·露西-史密斯著,殷企平等译《艺术词典》,三联书店,2005年5月,第102页。
34“红色旅”最初由苏联于1970年5月14日设立,全称是Rote Armee Fraktion(或者写成英文即Red Army Faction).其东德分支的主要成员是巴德与梅恩霍夫,后者曾是知名杂志《Koncret》的记者。在柏林自由大学26岁的学生奥纳索格被便衣警察枪杀后,红色旅宣布：“对暴力唯一的回答就是使用暴力”。此后他们便发动了一系列恐怖活动。
35 Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York,2003. P.52, Note 65:Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill & Wang, 1981):15
36 王志亮,《格哈德·里希特给我们带来了什么?》,载《美术观察》,2008年第1期。
37 "Notes for a press conference, November-December 1988', Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London,2009. P.202
38 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18,1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.290, Note 4
39 Alan Krell, Manet, Thames and Hunson Ltd, London,1996, P.106
40 James H Rubin, Courbet, Phaidon Press Limited,1997, P.75
41 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18,1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.283
42 "Notes,1964-1965", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London,2009. P.32
43 Thomas Crow, "Hand-Made Photographs and Homeless Representation"', Edited by Benjamin H. D. Buchloh, October Files: Gerhard Richter, Cambridge: Massachusetts Institute of Technology, 2009, P.54-55
44 Thomas Crow, "Hand-Made Photographs and Homeless Representation", Edited by Benjamin H. D. Buchloh, October Files: Gerhard Richter, Cambridge: Massachusetts Institute of Technology, 2009, P.55
45 Gertrud Koch, "The Richter-Scale of Blur", Edited by Benjamin H. D. Buchloh, October Files:Gerhard Richter, Cambridge:Massachusetts Institute of Technology,2009, P.40
46 Rachel Haidu, "Arrogant Texts:Gerhard Richter's Family Pictures", Edited by Benjamin H. D. Buchloh, October Files:Gerhard Richter, Cambridge: Massachusetts Institute of Technology, 2009, P.166
47 "Interview with Sabine Schutz, 1990", Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, edited by Dietmar Elger and Hans Ulrich Obrist, Thame & Hudson Ltd, London, 2009. P.258
48 Edited by Fred Jahn, Gerhard Richer: Atlas, Exhibition Catalog, Munich: Stadtische Galerie im Lenbachhaus 1989. P.202
49 Arthur C. Danto, "History in a Blur", in The Nation, May 13,2002.
50 Arthur C. Danto, "History in a Blur", in The Nation, May 13,2002.
51 邵亦杨, 《从绘画到影像——数码时代的三个片段》,载《文艺研究》,2009年第6期。
52 阿尼·格林顿,《前言》,《修正》展览图录,2008年,第1页。
53 黄专,《张晓刚：一个现代叙事者的多重世界》,载《读书》2009年11月刊,第123页。
54 《圣经·新约》之《约翰福音》1：5
55 朱其主编,《形象的模糊——里希特艺术笔记和访谈》,湖南美术出版社,2007年10月,第128页。
56 转引自黄专,《张晓刚：一个现代叙事者的多重世界》,载《读书》2009年11月刊。
57 黄专,《张晓刚：一个现代叙事者的多重世界》,载《读书》,2009年11月刊,第123页。
58 Shao Yiyang, "Why Realism?" in Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence:The Proceedings of the 32nd International Congress of the History of Art (Comite International d'Histoire de l'Art, CIHA) The University of Melbourne,2008
59 顾丞峰,《观念性的介入,当代绘画的新课题——从张晓刚、石冲作品谈起》,载《美术界》,1997年第4期。
60 吕澎主编,《张晓刚——内心独白式的艺术家》,四川美术出版社,2007年12月,第71页。
61 李军,《“家”的寓言——当代文艺的身份与性别》,作家出版社,1996年7月,第17页。
62 乔纳森·法恩伯格,《回忆与欲望》,收录于《修正》展览图录,2008年,第15页。
63 张晓刚作品《绿墙——角落》画面上的文字,见图44。
64 《1993年8月21日,张晓刚致王林的信》,收录于张晓刚,《失忆与记忆——张晓刚书信集(1981-1996)》,北京大学出版社,2010年2月,第227页。
65 高名潞,《墙——中国当代艺术的历史与边界》,中国人民大学出版社,2006年8月,第94页。
66 [美]尼古拉斯·米尔佐夫著,倪伟译,《视觉文化导论》,江苏人民出版社,2006年11月,第196页。
67 曹意强,《写实主义的概念与历史》,载《文艺研究》,2006年第7期,第108页。
68 中国社会科学院语言研究所词典编辑室编,《现代汉语词典》,商务印书馆,2002修订版。
69 康有为,《万木草堂藏画目·序言》,孔子二千四百六十九年(即公元1918年)戊午二月出版,上海长兴书局。
70 [美]尼古拉斯·米尔佐夫著,倪伟译,《视觉文化导论》,江苏人民出版社,2006年11月,第45页。
71 转引自[美]尼古拉斯·米尔佐夫著,倪伟译,《视觉文化导论》,江苏人民出版社,2006年11月,第48页(KEMP 1990:51)
72 李军,《设计与空间三题》,载《艺术设计研究》,2011年第1期,第90-91页。
73 Clement Greenberg, "Avant-Garde and Kitsch", in John O'Brian (ed.), Clement Greenberg: the Collected Essays and Criticism, The University of Chicago Press, paperback edition 1988, P.12
74 Charles Harrison, "Modernism", Robert S. Nelson and Richard Shiff(ed.), Critical Terms for Art History, The University of Chicago Press, 2003, P.191
75 Richard Shiff, "The Originalitty", Robert S. Nelson and Richard Shiff(ed.), Critical Terms for Art History, The University of Chicago Press, 2003, P.147
76 阿尼·格林顿,《前言》,《修正》展览图录,2008年,第1页。
77 Michel Foucault, The Achaeology of Knowledge and the Discourse of Language, New York: Pantheon,1972, Taken from the note of Robert S. Nelson, "Appropriation", Robert S. Nelson and Richard Shiff (ed.), Critical Terms for Art History, The University of Chicago Press, 2003, P.162
78 邵亦杨,《跨文化——世界艺术史研究的新坐标》,载《美术观察》,2008年第4期,第122页。
79 See Catharina Manchanda (compiled), "Chronology", in Gerhard Richter: Forty Years of Painting, organized by Robert Storr, produced by the Department of Publications, The Museum of Modern Art, New York, 2002.
80 易英,《照片与挪用》,收录于《原创的危机》,河北美术出版社,2010年7月,第305页。
81 邵亦杨,《具象绘画如何进入前卫经典?》,载《荣宝斋》,2011年10月刊,第68页。
82 Shao Yiyang, "Why Realism?" in Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence:The Proceedings of the 32nd International Congress of the History of Art (Comite International
d'Histoire del'Art, CIHA) The University of Melbourne, 2008.
83 Benjamin H. D. Buchloh, "A Note on Gerhard Richter's October 18, 1977", Theory in Contemporary Art since 1985, edited by Zoya Kocur and Simon Leung, Blackwell Publishing Ltd, 2005. P.283
84 冷林《为张晓刚纽约展而写》,《修正》展览图录,第13页。
85 冷林《前言》,《史记》展览图录,第3页。
86 [美]爱德华·w·萨义德著,朱生坚译,《人文主义与民主批评》,新星出版社,2006年7月,《自序》第2页。
87 Brendan Prendeville, Realism in 20th Century Painting, Thames & Hudson Ltd, London, 2000, P.164
88 David Hopkins, After Modern Art: 1945-2000, Oxford University Press, Oxford, 2000, P.217
89 [美]汉娜·阿伦特著,林骧华译,《极权主义的起源》,北京,生活读书新知三联书店,2008.6,第592页。
90 [美]汉娜·阿伦特著,林骧华译,《极权主义的起源》,北京,生活读书新知三联书店,2008.6,第592页。
91 表象论起源于德谟克利特(Democritus)的理论：物体放射出一个自身的摹本,这个摹本在尺度上缩小了,它通过瞳孔进入眼睛,眼睛再照此重建起一个所见之物的模式,以便让大脑作出判断和解释。可见表象论与“视觉”这一感觉方式存在更多的关联,这与后来西方艺术走上追求“再现”的道路密切相关。
92 David Summers, "Representation", in Robert S. Nelson and Richard Shiff, Critical Terms for Art History, Chicago: University of Chicago Press, 1992, 2003. P.3
93 Phantasia这个词源自词根phos,意思是“光”,这与古希腊哲学中用来解释认知过程的其它词汇如idea(源自idein.看)一样,都具有明确的视觉性。
94 Immanuel Kant, "The Critique of Judgment", in edited by Donald Preziosi, The Art of Art History: A Critical Anthology, Oxford University Press, P.79
95 易英,《从自我到图式——莫鸿勋抽象绘画释读》,收录于《偏锋》,湖南美术出版社,2005年11月,第61页。
96 [美]戴维·萨默斯,《再现》,载《新美术》,2006年第6期,总第27卷,第24页。
97 Roger Scruton, "Photography and Representation", Arguing about Art, edited by Alex Neill and Aaron Ridley, second edition, Routledge, London, 2002. P.198
98 《1990年11月7日,张晓刚致毛旭辉的信》,见张晓刚,《失忆与记忆——张晓刚书信集(1981-1996)》,北京大学出版社,2010年2月,第167页。
99 斯然畅畅,《图文之间：二手资料与想象中国》,载《美术观察》,2009年07期,第125页。
10 [法]让-弗朗索瓦·利奥塔尔著,车槿山译,《后现代状态》,南京大学出版社,2011年9月,第6-7页。
101 Hans Belting, Art History after Modernism, translated by Caroline Saltzwedel and Mitch Cohen with additional translation by Kenneth Northcott, The University of Chicago Press, Chicago, 2003, P.197
Eleanor Heartney, Art & Today, Phaidon Press Inc, 2008
Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence:The Proceedings of the 32nd International Congress of the History of Art (Comite International d'Histoire de l'Art CIHA) The University of Melbourne, 2008
Edited by Amelia Jones, The Companion to Art History Since 1945, Blackwell Press, 2006
Edited by Zoya Kocur and Simon Leung, Theory in Contemporary Art since 1985, Blackwell Publishing Ltd,2005 Hans Belting, translated by Caroline Saltzwedel, Mitch Cohen and Kenneth Northcott, Art History after Modernism, The University of Chicago Press, 2003
Edited by Charles Harrison and Paul Wood, Art in Theory 1900-2000: An Anthology of Changing Ideas, Blackwell Publishing Ltd, 2003
Edited by Robert S. Nelson and Richard Shiff, Critical Terms for Art History (Second Edition), The University of Chicago Press, 2003
E. H. Gombrich, Art and Illusion, sixth edition, Phaidon Press Inc, 2002
Edited by Alex Neill and Aaron Ridley, Arguing about Art, second edition, Routledge, 2002
Edited by Rasheed Araeen, Sean Cubitt and Ziauddin Sardar, The Third Text Reader: On Art, Culture and Thoery, Continuum, 2002
Edited by Alex Neill and Aaron Ridley, Arguing about Art, second edition, Routledge, London, 2002 Brendan Prendeville, Realism in 20th Century Painting, Thames & Hudson Ltd, 2000
Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History, Princeton University,1997David Hopkins, After Modern Art:1945-2000, Oxford University Press, 2000
Edited by Donald Preziosi, The Art of Art History: A Critical Anthology, Oxford University Press, 1998
Hans Belting, Likeness and Presence: Images before the Era of Art, University Of Chicago Press, January 15,1997
Preben Mortensen, Art in the Social Order: the Making of the Modern Conception of Art, State University of New York Press, 1997
James H Rubin, Courbet, Phaidon Press Limited, 1997
Aby Warburg. Der Bilderatlas MNEMOSYNE (Martin Warnke edited, Berlin 2003, 2nd printing Alan Krell, Manet, Thames and Hunson Ltd, London, 1996
Homi K. Bhabha, The Location of Culture, Routledge, 1994
John O'Brian (ed.), Clement Greenberg: the Collected Essays and Criticism, The University of Chicago Press, paperback edition 1988
Edited by W. Eugene Kleinbauer, Modern Perspectives in Western Art History: An Anthology of 20th-century Writings on the Visual Arts, Holt, Rinehart and Winston, Ltd, 1971
易英,《原创的危机》,河北美术出版社,2010年7月
[美]詹姆斯·埃尔金斯著,雷鑫译《视觉研究——怀疑式导读》,江苏美术出版社,2010.1
[英]E.H.贡布里希著,林夕、李本正、范景中译《艺术与错觉——图画再现的心理学研究》,湖南科学技术出版社,2009.2
[美]安·达勒瓦著,李震译,王春辰校《艺术史方法与理论》,江苏美术出版社,2009.1
[法]达尼埃尔·阿拉斯(Daniel Arasse)著,孙凯译,董强审校《绘画史事》,北京大学出版社,2007.7
[美]尼古拉斯·米尔佐夫著,倪伟译,《视觉文化导论》,江苏人民出版社,2006年11月
[美]乔纳森·费恩伯格著,王春辰、丁亚雷译,易英审校《一九四零年以来的艺术：艺术生存的策略》,中国人民大学出版社,2006
[英]爱德华·露西一史密斯著,殷企平等译《艺术词典》,三联书店,2005年5月
李铸晋、万青力,《中国现代绘画史——当代之部》上海,文汇出版社,2004.7
李军,《“家”的寓言——当代文艺的身份与性别》,作家出版社,1996年7月
[美]鲁道夫·阿恩海姆著,滕守饶、朱疆源译,《艺术与视知觉》,中国社会科学出版社,1984年7月康有为,《万木草堂藏画目·序言》,孔子二千四百六十九年(即公元1918年)戊午二月出版,上海长兴书局
Graham Clarke, The Photograph, Oxford University Press, 2000
Ian Jeffrey, Photography：A Concise History, Thames & Hudson Ltd, 1981
Edited by Alan Trachtenberg, Classic Essays on Photography, Leete's Island Books Inc,1980
Susan Sontag, On Photography, Picador Press New York, 1977
[美]苏珊·桑塔格著,黄灿然译,《论摄影：插图珍藏本》,上海译文出版社,2010.12
[德]瓦尔特·本雅明著,胡不适译,《技术复制时代的艺术作品》,浙江文艺出版社,2005年
Edited by Benjamin H. D. Buchloh, Gerhard Richter (October Files), Massachusetts Institute of Technology,2009 Edited by Dietmar Elger and Hans Ulrich Obrist, Gerhard Richter Text: Writings, Interviews and Letters 1961-2007, Thame & Hudson Ltd, London,2009
Gerhard Richter: Red, Yellow or Blue, Prestel Verlag, New York,2007
Robert Storr, Gerhard Richter:Doults and Belief in Painting, The Museum of Modern Art, New York, 2003
Organized by Benjamin H. D. Buchloh, Gerhard Richter: Eight Gray, Guggenheim Museum Publications,2003
organized by Robert Storr, Gerhard Richter: Forty Years of Painting, produced by the Department of Publications, The Museum of Modern Art, New York, 2002
Edited by Fred Jahn, Gerhard Richter: Atlas, Exhibition Catalog, Munich: Stadtische Galerie im Lenbachhaus, 1989
朱其主编《形象的模糊——里希特艺术笔记和访谈》,湖南美术出版社,2007.10
Karen Smith, Nine Lives: The Birth of Avant-Garde Art in New China, Thames & Hudson,2008 Edited by John Clark, Chinese Art at the End of the Millennium: Chinese-art. Com 1998-1999, New Art Media Ltd, 2000
张晓刚著《失忆与记忆——张晓刚书信集1981-1996》,北京大学出版社,2010.2
阿尼·格林顿,《前言》,《修正》展览图录,2008年
吕澎主编《张晓刚——内心独白式的艺术家》,四川美术出版社,2007.12
高名潞著《墙——中国当代艺术的历史与边界》,中国人民大学出版社,2006.8
巫鸿著《作品与现场——巫鸿论中国当代艺术》,岭南美术出版社,2005.12
[法]让-弗朗索瓦·利奥塔尔著,车槿山译,《后现代状态》,南京大学出版社,2011年9月
[美]汉娜·阿伦特著,林骧华译,《极权主义的起源》,北京,生活读书新知三联书店,2008.6
[美]爱德华·W·萨义德著,朱生坚译,《人文主义与民主批评》,新星出版社,2006年7月
Shao Yiyang, "Chinese Art and Education in 1980-1990s", (translated into German), in Peter J. Schneemann und Wolfgang Briickle (Hg.) Kunstausbildung, Aneignung und Vermittlung kunstlerischer Kompetenz, Vereinigung der Kunsthistorikerinnen und Kunsthistoriker in der Schweiz, Bern, Munchen 2009
Shao Yiyang, "Why Realism?" in Anderson, Jaynie (ed), Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress of the History of Art (Comite International d'Histoire de I'Art, CIHA) The University of Melbourne, 2008
Hilde Van Gelder, "The Present-day Scholar: an (im)possible representation?" Image and Narative, Issue 10, March 2005
Arthur C. Danto, "History in a Blur", The Nation, May 13,2002
Benjamin H. D. Buchloh, "Gerhard Richter's'Atlas':The Anomic Archive", October, Vol.88, (Spring, 1999) Benjamin H. D. Buchloh, "Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning," October 75 (winter 1996)
邵亦杨,《具象绘画如何进入前卫经典?》,载《荣宝斋》,2011年10月刊
李军,《设计与空间三题》,载《艺术设计研究》,2011年第1期
黄专,《张晓刚：一个现代叙事者的多重世界》,载《读书》2009年11月刊
斯然畅畅,《图文之间：二手资料与想象中国》,载《美术观察》,2009年07期
邵亦杨《从绘画到影像——数码时代的三个片段》,载《文艺研究》2009.6
邵亦杨《视觉文化研究与艺术史》,载《美术研究》2009.4
易英《原创的危机——对近三十年油画创作的反思》,载《文艺研究》2009.1
邵亦杨《跨文化——世界艺术史研究的新坐标》,载《美术观察》2008.4
王志亮《格哈德·里希特给我们带来了什么?》,载《美术观察》2008.０1
余丁《中国艺术,中国标准》,载《美术观察》2007.9
易英《政治波普的历史变迁》,载《南京艺术学院学报》2007年.3
曹意强,《写实主义的概念与历史》,载《文艺研究》,2006年第7期
[美]戴维·萨默斯《再现》,载《新美术》2006年第6期,总第27卷
鲁虹,《图像时代的视觉转向》,载《湖北美术学院学报》2006.2
叶剑青《“气息”消失之后的艺术——李希特“影像绘画”研究》2003级博士论文,中央美术学院
易英《全球化背景下的中国前卫艺术》,载《美术研究》2001.3
林木,《对本世纪中国美术几个问题的检讨》,载《美术观察》,1999年第10期
顾丞峰《观念性的介入,当代绘画的新课题——从张晓刚、石冲作品谈起》,载《美术界》1997.4
张晓刚,欧阳江河《回忆的目光和存在的意味》.载《东方艺术·大家》2006.6
杰罗姆·桑斯《我一直想画出我理解的某一类人的形象——张晓刚访谈》
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